Dhurandhar 2: The box-office juggernaut that shows hypermasculine nationalism still sells in India
The release of Dhurandhar: The Revenge, a mere four months after the original, has sparked a heated debate about the political direction of Bollywood. This sequel, a spy thriller, has shattered records for advance bookings and trailer views, suggesting it will cement hypermasculine nationalism as a reliable box-office formula. But what does this say about the Indian film industry and its relationship with national identity?
The original Dhurandhar, directed by Aditya Dhar, became a massive hit, grossing over Rs 10bn worldwide. It tells the story of an Indian intelligence operative infiltrating the Pakistani criminal underworld to dismantle a terrorist network. The film blends fictional espionage with real events, including the 2001 attack on India’s parliament and the 2008 Mumbai attacks. This blend of history and mythmaking has sparked controversy.
Critics argue that the film selectively uses real tragedies to build a politically-charged story about national security and revenge. A key scene involves the 1999 hijacking of an Indian aircraft, where passengers are urged to shout 'Bharat Mata ki Jai' (Victory to Mother India). This scene, critics say, establishes the film's central dynamic: Pakistan-linked militants as brutal antagonists and Hindus as victims. This portrayal, they argue, aligns with Hindu nationalist rhetoric flourishing under Narendra Modi's rule.
The film's narrative also suggests that demonetisation, a controversial policy, dealt a blow to terrorist networks. This detail carries a subtle communal undertone, as the meat trade in India is largely run by Muslims. The film's portrayal of intelligence officials tracing financing for terrorism to butcher shops adds to the controversy.
Political commentator Dhruv Rathee calls Dhurandhar 'well-made propaganda', comparing it to Nazi propaganda films. Film critic Anupama Chopra describes it as an 'exhausting, relentless and frenzied espionage thriller' driven by 'too much testosterone, shrill nationalism and inflammatory anti-Pakistan narratives'. The controversy around the film has also sparked online harassment of critics, highlighting the intense political climate in India.
This trend of films rooted in historical grievances and national security is not new. Examples include Uri: The Surgical Strike, The Kashmir Files, The Kerala Story, Article 370, and The Sabarmati Report. These films have been commercially successful, with some grossing over Rs 3bn. Modi's attendance at a special screening of The Sabarmati Report and the BJP's support for these films indicate their political significance.
The success of Dhurandhar and similar films suggests that chest-thumping patriotism tinged with religious polarisation remains a bankable combination in Bollywood. This trend, as film scholar Ira Bhaskar predicted, points to a pattern where Bollywood is increasingly serving propaganda purposes, whether as pure spectacle or storytelling with a political agenda. The question remains: how will this impact the Indian film industry and its relationship with national identity in the future?
